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sockcrumbs · 9 years

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Samba Review

Making a harsh pill easier to swallow

In this day and age, no matter how optimistic you try to be, sometimes there’s no denying of just how abysmal some situations have become. Although there may be small victories made with each passing day, some on-going issues still struggle to find an ideal solution. When some parts of the world fail to care for its people, the countries that such people are then forced to turn to can be just as cruel. Migrants may arrive in countries with next to nothing, yet despite how hard they work, their reluctant homes often work equally as hard to ensure that their suffering continues. Although the continuing endeavour of immigration and the struggle for employment is hardly an issue exclusive to one nation, France is nevertheless as fine an example as any to demonstrate the grim circumstances for migrant workers. Thus, the film ‘Samba’ takes a dive into the deep end of a dark subject matter, but brings with it some light hearted notes to help absorb an agonising actuality.

Omar Sy plays protagonist Samba Cissé, a Senegalese migrant struggling to find work in France whilst keeping a low profile after a bureaucratic blunder gives him a temporary arrest and an obligation to leave the country. Thankfully, he is aided by Charlotte Gainsbourg as immigration officer Alice, and Tahar Rahim as the ‘supposedly’ Brazilian immigrant Wilson. However, despite Alice’s colleague warning her of the dangers of not keeping emotional distance from clients, the growing romance between herself and Samba begins to complicate their lives both legally and emotionally.

The film does a brilliant job of depicting the deprivation of immigrants in European states, as well as the distinctive smell of austerity and misery that still plagues such states’ political environments, where welfare is failing, and life is only perfect for the privileged. Although the film is aware of the harsh realities facing non-native workers, that doesn’t deter its attempts to balance its drama alongside a healthy does of heart and humour to make the deplorable more plausible.

The film’s characters feel as tangible as its themes, possessing multi-dimensional personalities in tangent with likeable traits and more importantly, flaws that present them with their comeuppance. Omar Sy gives Samba an endearing honest charm, speaking his mind bluntly in both impassioned frustration and genuine gratitude for the help he’s given. For as difficult a situation as he’s placed in, his persistence to maintain a positive attitude is truly admirable. However, this doesn’t ignore his flaw of occasional disloyalty; but it’s a flaw that he quickly acknowledges and develops from. Charlotte Gainsbourg gives an equally loveable and complex performance as Alice, with realistic hints of hesitancy and obliviousness when trying her best to help, but also holding back a very real and furious side to her; being simultaneously concerning and comical whenever shown. As entertaining and investing as the main characters’ relationship is, supporting characters such as Wilson, and Alice’s many colleagues are also given equal time to bring their own feisty and funny flavours to the film’s already culturally diverse palette.

What’s remarkable about this film is its ability to contradict potential criticisms within its plot throughout its duration. Although certain scenes of the film may at first seem pointless or un-needed, their succeeding relevancy makes for a much more deep and detailed story. The outcomes of these scenes serve both to surprise audiences with well-timed tension but also to reveal the joyous or tragic resolutions to characters’ developments. Although this may arguably create temporary confusion and uncertainty upon first viewings, the film as a whole is an overall satisfying and rewarding experience. The film’s setting is one of realistic hardship; where struggles can lead to unexpected rewards or hollow victories, so the spontaneity at which certain events occur truly reflect the constantly tense and unforgiving lifestyle of people forced to take on whatever work comes their way, even if their lives and rights aren’t valued for it.

In spite of its dark tones, the film uses comedy wisely to its advantage in order to save it from becoming uncomfortable viewing, and furthermore, allows viewers to appreciate and sympathise with all of the characters’ dire conditions. The humour feels completely and consistently natural. Never does any joke (save for one that is thankfully only present in the film’s trailer) feel at all forced or exaggerated, at least no more so than what one can realistically expect from the scenarios that our characters are placed in. The direction especially helps to sell the seamless pace of the humanist humour, with well-timed close ups of characters lasting just long enough to build anticipation for an expected or even un-expected response to an open-ended line of dialogue. Plot structure also aids exposition without feeling artificial, such as Alice’s colleague warning her to keep distance from clients in order to set up inevitable awkwardness as soon as her first client immediately persists in requests that make ‘distance’ almost impossible to achieve. The humour not only feels realistic, but even draws from real-life situations and icons, ranging from a strip tease Coca-Cola advert recreation to simple translation errors that lead to relatable confusion.

Overall, while some rom-com tropes may not be to everyone’s tastes, and the patience needed in order for seemingly irrelevant scenes to pay off may be frustrating for first time viewers, this film’s elegantly humanist style still makes for an entertainingly upbeat story that manages to bring laughs in a tale of loss.

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sockcrumbs · 9 years

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Sockcrumb Social: Update

First and foremost, my sincerest apologies for the lack of content during the past month. As hard as I tried to regularly see films and write reviews and previews, university work and other outside commitments unfortunately and un-expectedly prevented me from making such content at an efficient rate. I take a lot of time into writing each review and preview I do so that they can be of the best standard that I believe that I am able to manage, and as such, I wouldn’t want to risk losing quality or detail by attempting to rush content for the sake of upholding a regular upload schedule. Once again, I am sorry for having another brief hiatus as it were, and I’m afraid that it may still continue for a while yet. However, that being said, I am now taking the time to start work on a large back log of reviews so that when the time does allow, I can continue a regular upload schedule with a healthy amount of reviews stored up to ensure that content can continue at a steady and consistent rate. But until then, if you have enjoyed my reviews/previews in the past, then I can at least direct you towards my facebook and twitter pages in the meantime, where I upload much more frequently, albeit more briefly and informally. While I have not had the time to write up detailed reviews of any of the films I have seen recently, I have managed to occasionally find the time to express my thoughts on them on such alternative social media sites. For instance, on my facebook page I have recently written a mini-review of “The second best exotic marigold hotel” as well as my thoughts on the Oscars, amongst other one sentence impressions on recent films such as “The Theory of Everything” and “X+Y”, so if you’re curious to hear my thoughts on certain films, then I certainly implore you to follow my other pages. Furthermore, if you have any particular questions, then both Facebook or Twitter are ideal places to ask them, and should you ask me anything, then I will happily take the time to respond. At this point in time, I cannot promise when regular content shall resume, but I can assure you that when I do return again, I should have enough reviews stored up to last for a much more considerable length of time. Thank you all for your patience and support, and please do follow my Facebook and Twitter pages in the meantime. My Facebook Page: https://www.facebook.com/sockcrumbs My Twitter Page: https://twitter.com/SockfaceSimpson

#sockcrumbs #update #facebook #twitter #break #apology #social media

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sockcrumbs · 9 years

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Sockcrumb Sundae Speculation: 2nd-8th February 2015

Apparently one month just isn’t enough for the film industry to dump all of their late UK releases of films from yesteryear, but straight into the second month of the New Year and we still have a couple of late USentries to finally hit our British screens. Due to our daily reliance anddependence upon social media, we of course by now more or less know about the general quality of these films: the controversies they’ve caused, the awards they have or haven’t won, and the debates they’ve stimulated. While this doesn’t apply to all of the films waiting to be released in the upcoming week, for a couple it will be hard to properly preview them without obvious foreknowledge determining expectations, or rather lack there of. With that, let’s explore the film pickings of the first week of February in the UK.

Selma (6th February 2015)

As much as I’d like to jump on the bandwagon and cry outrage at this film’s exclusion from the recent Oscars that seemed to only favour an onslaught of white male film stars, I unfortunately have no current right to completely judge the film’s quality without having seen it. That being said, from previous critical reception and the construction of its trailers, I’m going to be so bold as to predict that this film may very well be deserving of its praise. Being the first theatrical adaptation to centre on one of the most influential POC figures of all time, this film seems to be delivering in both soul and style. An American historical drama directed by female director Ava DuVernay that depicts the 1965 voting right marches lead by the likes of James Bevel and martin Luther King, Jr., this seems like an incredibly powerful film with incredibly powerful performances behind it, especially from David Oyelowo. It may be a story that we think we already know, but each new interpretation brings a new emotional and suspenseful side to it that’s always worth investigating. I may have yet to see it, but if anything, at least to criticise the level of Oscar White-washing (and not even that, because the Oscar nomination list is also staggeringly male) that seems to still be occurring, then to say the least, I’m not going to be overly surprised if it turns out that I end up on that bandwagon after all.

The Interview (6th February 2015)

After all the controversy, all the protests, all the tension, and all the action taken in the name of freedom and democracy, you’d thought that we ‘d have a slightly more convincing impression then the one we’ve been sadly presented with. A bold and hilarious idea no doubt, instead seems to be too drowned in Franco’s and Rogen’s egos to be worth much recommendation, unless of course you’re already acquainted with stroking their egos enough already. In all fairness, there’s not doubt in my mind that this film is going to find its audience in some way and that people are going to see it anyway purely on the basis of the controversy it’s caused, but I’m personally more excited to sit and wait until a film about the controversy about releasing ‘The Interview’ comes out in about 5-10 years time, where I shall then happily pay money to see that instead. While something like “Team America: World Police” was satirical in two senses; mocking North Korea just as much as it mocked US Patriotism, “The Interview” instead seems to be a very over-the-top one-sided comedy conflict that spews seemingly pretentious silly nudity-driven humour that Rogen and Franco are known for. They’re not for my taste no, but even though I have no quarrel with people who do enjoy their brand of humour, despite all the fuss that this new film has caused, it honestly doesn’t seem too different from anything they’ve already done. See it if you must, but somehow I think that this won’t quite live up to all of its expectations.

Shaun the Sheep Movie (6th February 2015)

You can never go wrong with Aardman, and furthermore you can never go wrong with anything associated with the British perfection that is the Wallace & Gromit universe. Following a very successful television series, unlike most other children’s figures, Shaun the Sheep actually seems very comfortable for the transition from television to film, given that he’s in the safe hands of his creators, who were not only responsible for conceiving him within an epic short film, but also for successfully adapting two of their own characters to feature-length film before. As ever, stop-motion is an absolutely gorgeous and admirable animation style that isn’t nearly used enough as it should be. The comedy seems as innocent and harmless as ever, with clearly a more heavy focus on more juvenile humour; understandable given that it does come from a children’s show (yet that still doesn’t stop a hilarious ‘Silence of the Lambs’ reference from appearing in the trailer). It looks faithful to the source material, as well as endearing and fun, and given that Aardman have a great track record, there’s currently little reason to suggest that this won’t become a highlight of the month.

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sockcrumbs · 9 years

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Kingsman: The Secret Service Review

Kingsman: The Secret Service – Back off, I saw it Firth

Although nowadays, we all enjoy the gripping drama, dark themes and brutal violence that modern spy-action flicks provide us, there has always been something solemnly missing from the genre that’s been secretly lost within the cheesy old-school bond-fare of cinema’s past. The ridiculously over-the-top gadgets, the cliché villainous schemes, the hero’s witty quick quips, and just the general sense of fun was what used to be what fuelled the essential spy film of past generations. As much as it is still remembered and occasionally referenced to in increasingly obscure and meaningless ways, it is “Kingsman: The Secret Service” that definitively embraces the genre’s sense of enjoyment; morphing itself into a film that is both homage and satire rolled into one immensely fast, fun, gun-toting, umbrella-wielding ride.

Based on the comic book “The Secret Service” by Dave Gibbons and Mark Millar, director Matthew Vaughn puts his action-film experience to excellent use in this tale of an independent secret service attempting to recruit a young protégé to help prevent humanity’s destruction. A service unaligned with any government founded by high-end tailors with a hidden base underneath their shop, the essential concept of ‘Kingsman’ would otherwise be considered too preposterous and absurd to enjoy had this film not had an incredibly stylistic tone and feel to it; allowing the bizarre idea of secret spy tailors to be one worth of immense admiration.

At a glance, Kingsman is a very fun, fast and enjoyable film that manages to be in your face but in a strangely classy way. Its tongue is quite firmly in its cheek throughout the whole film, but that shouldn't demean the amount of talent and effort that has clearly gone into it. Almost all of the action and fight sequences are excellently well directed and choreographed, and none of them ever lose momentum to keep viewers captivated. The gadgets find a perfect line between being boldly British and brutally badass, the editing moves at a swift and engaging pace, and whenever background music is applied, it’s synchronised faultlessly with the on-screen action. Perhaps the most iconic and impressive action scene would be one set within an American church; where the direction and choreography goes insane in the most civilised yet jaw-dropping way imaginable. It is quite simply directorial perfection: The momentum is constantly maintained, the violence is bloody enough to give frequent shocks but never gory enough to prompt a blink, and the laughs find increasingly new ways to manifest out of the various ways in which Colin Firth can expertly show off his slick smooth spy style.

The performances are also one of the film's greatest assets, as you can expect from a cast list including an evil hip Samuel L Jackson, the previously mentioned badass Colin Firth, and Michael Cane being...well, Michael Cane... but he does it so well. However, the most impressive performance might be that of Taron Egerton in his feature-length debut as protagonist ‘Eggsy’, who manages to flawlessly switch between the “bruvs” and “bravos” during his transition from street-chav kid to Kingsman agent. What’s also remarkable is that despite how the stereotypes of posh tailored suits and mixed martinis have always been reserved for British males, the film shows how the applicant process for becoming a Kingsman member also admits women to apply for the position. Furthermore, this also ties nicely into the class-difference chemistry between Firth’s and Egerton’s characters, with the former giving a very satisfying message about how a gentleman’s virtue comes from within their moral nature, not defined by their class, their accent or even their gender. For a film full of funny pokes and prods, even a nice insightful message like this manages to find its way through as the characters face an enemy that embodies the modern day issues of power struggles and media control. This does however sadly shed light onto one of the film’s few flaws, in that its narrative focus is occasionally a bit confused. By the end of the film, you’re sure that ‘Eggsy’ is definitely the main protagonist, but for a lot of length before then, the film jumps a bit sporadically between an ‘Enders game’ style training process with the young agents, to Colin Firth’s on-going goals and missions. While films are able to pull off simultaneous plot lines and sub-plots, the film’s narrative pacing does now and then become a bit inconsistent and unsure, mistaking the cast stand-out with the actual main cast member, and forcing characters to leave and then immediately come back just so that they can have an ‘all is lost’ moment.

Additionally, in terms of laughs, although the overall humour is quite spectacularly chic and cheeky, some sections could be seen as slightly lacking given the witty potential available. For instance, some running jokes such as the villain’s distaste for the sight of blood doesn’t really develop or progress other than a predictable conclusive outcome, and none of the female cast-members are particularly memorable for laughs alone (with one female character being unfortunately and uncomfortably subjected to a sexual ‘prize’ status). But regardless, the gags do tend to come in fairly thick and fast supply, and although you could argue that the film as a whole could have had more laughs than it did, it's still entertaining enough to be worth recommending. The focus of its narrative may occasionally lose a bit of focus, and it may not be the most hilarious film of the past decade, but it cannot be denied that by its own merits, this is an incredibly fun and exciting film that's likely to please almost all audiences not made squeamish by a bit of blood. The only faults present are not likely to be noticed by the majority of crowds, and in the long run they do little to detract from the film’s all-inclusive fun, spirit, and crazily innovative action. Not only does it remind us why we used to love the old cheesy 007 antics, but it also pays tribute to nostalgic imagery in order to apply it to its own blend of modern-action flare. It’ll satisfy you way beyond teatime, and still make you come back for seconds (and if they plan for a sequel, then I mean that quite literally).

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sockcrumbs · 9 years

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Testament of Youth Review

Testament of Youth – A colourful commemoration of conflict

The war picture is not exactly un-familiar territory for any director or audience. Every year, we can expect at least one film to be made reminiscing or reconstructing the events of past wars and conflicts. Lives are lost, loves are separated, and all faith in the world seems to dissolve. We’ve seen it all before, so why are there still so many being made? Perhaps it’s due to the eternal relevance that war shall always have on the modern world. The balance of economy, geography and politics to this day is still recovering from the results of warfare, and even try as we might to find peaceful means to resolve issues, new wars still continue to rise throughout our troubled world. Perhaps it’s more due to war’s historical value. For such a phenomenal event to have shaped the course of human history forever, interpretations and retellings of events always shed light onto how we may view the roles of the past. Or perhaps it’s both simpler and more complicated then that. Perhaps it’s due to the fact that no matter the progressions or victories we make, we must never ignore, and we must never forget. History has a rather nasty tendency of repeating itself, and thus only by acknowledgment and recognition can we hope to ensure that the same mistakes are not made again. That, or perhaps the original First World War memoir of “Testament of Youth” was just simply too good and inspiring not to be adapted to the big screen. In fact, as far as feminist films may go, and the full extents in which we view the lives of middle-class women in wartime periods, perhaps it’s true that we have not quite seen it all before after all.

“Testament of Youth” was originally a memoir written by Vera Brittain, a British pacifist who originally postponed her studies in Oxford in order to become a voluntary aid detachment nurse to help wounded soldiers. Despite her efforts and dedication to helping everyone she could, all of her closest friends including her brother and fiancé died at the hands of the First World War. In this cinematic adaptation, director James Kent paints a rather picturesque vision of 1910s Britain, choosing when to contrast beautiful countryside imagery with the graphic stains of blood and mud of fallen soldiers.

As a protagonist, Alice Vikander does Vera Brittain justice by being a completely compelling screen presence, dominating every scene through either fierce defiance or raw sentimentality. Her persistence to prove herself good enough to enter Oxford on her own, to stumble through muddy corpses to find her brother, or even to stand up against a crowd of patriotic vengeful citizens and tell them that revenge is wrong, all acts define her as a strong-willed figure that’s ideal for viewers to latch onto for the long emotional ride this film takes them on. But as a consequence, in the moments where she does break under the pain and misery of war, as viewers we are left as hopeless as she is. Even more morbidly, as optimistic as her speech about ending retribution may be, what’s tragic is that as 21st century viewers, we know full well that the cycle of revenge did indeed not stop, and that even today, we struggle to keep vengeful tendencies at bay.

An all-star cast including Kit Harington, Colin Morgan and Dominic West pour heart and soul into each of the supporting roles, evoking sympathy, anger, and confusion as the war-time struggle tears all of the characters apart, leaving Vera to find new ways to strive forward when no-one else can.

Surprisingly enough, if one had to give this film any criticism, then it could be that it actually downplays the severity of war and isn’t nearly tragic or gruesome enough. However, in a world already filled with gory depressing wartime films, comparison of carnage is an inevitable facet that’ll plague any film trying to recreate a war-fuelled tragedy. While it’s true that the film isn’t as gory or realistically macabre as it could be, that would be to belittle the film’s attempts to draw the focus towards what it didn’t do instead of what it did: because what it did, and what it still does is still respectful and beautiful enough to make the age-old message ring higher that it rarely has. From scenes involving Vera speaking German to a dying enemy soldier as he begs forgiveness, to hearing the uncontrolled weeping of Vera’s authoritative father off-screen as he reads the news of his son’s death; to call this film a ‘tear-jerker’ would be an understatement, for it doesn’t so much jerk your tears as much as it does yank them until they’ve spilt onto the floor into a flood of soggy emotional mess.

However, from an honest outlook, the only real flaws with the film are the moments where its stock elements dominate its more original ones. As previously mentioned, the usual tropes of war films still make their commonplace appearance, from pre-war romances to ‘brief encounter’ train station goodbyes. Whether these events are based on true events or not, the film still purposely chooses to direct and promote these sequences with an acute sense of war film heritage. Anyone previously acquainted with any kind of war film will not find much to be surprised at during these sections, yet in spite of that, the passionate performances and consistent female perspective still provide a distinctive viewpoint when in comparison to the more male-focused films of the genre.

On top of showing the typical war tragedy, it equally shows an interesting outlook onto a society barely tolerant of educated women, and an obligation to send young men to their deaths in the name of honour and pride. Gender equality has never been made more significant than in relation to the costs of war, for in these instances, regardless of gender, it should never be right to let one class of the population watch in horror as the other marches to its demise. The film’s efforts to draw focus upon a female perspective of war doesn’t assume that women didn’t equally have to experience agony and pain, but in this case, society had forced them to watch from afar as the men were the ones forced to die for their country. Even for centuries before the First World War, women had faced oppression and discrimination, made to give up dreams and goals for the sakes and identities of men. Yet, in any war scenario where men then have to sacrifice their own lives, women still sacrifice their loves and ambitions to pick up the pieces. On what was at first a fight against society to find independence, Vera later proves herself better than any of us when she throws away her dreams to hold back death as best she as can; to once again serve and help the men who would otherwise look down upon an educated woman, and yet not even her most trusting and accepting friends are spared from death. Vera loses almost everything, but she gains experiences that allow her to find her voice to vouch for an end to combat. As a woman in a wartime setting, she fought and witnessed enough horror to know what was structurally wrong with the world, and visualising her thoughts through film is as good a platform as any to convince the rest of us to believe her.

A hundred years since the First World War began, and still a well-crafted film like this proves how the past can be given new life. A modern lens onto an old affair can teach us many things about our present reality: because as long as technology keeps developing, and politics keep changing, we will always need war films to remind us and inspire us that not only have things been worse, but as a result, we’ve learnt things that can make the future better. It’s emotional, it’s poignant, and no, maybe it’s not as romantically innovative or aesthetically gruesome as it could have been, but when a film can make you cry six times in one sitting (yes I was counting), and respect that both men and women worked and fought so that we wouldn’t have to suffer what they did, it seems only right to make, watch, and then praise a film that shows that we understand.

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sockcrumbs · 9 years

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The Muppet Christmas Carol Review

The Muppet Christmas Carol – This is the best Christmas film of all time and you shall fail to convince me otherwise

We all have our own Christmas traditions. Whether they involve family gatherings, roasting chestnuts on an open fire, drinking bucks fizz, having the early gift on Christmas Eve, or comparing the designs on our jumpers, everybody has their own personalised tradition that they and their family can call their own. Mine involves watching ‘The Muppet Christmas Carol’ with my family every Christmas Eve. Why? Because quite simply, be it down to nostalgia or personal bias, there’s no denying that films like this are of a special breed that fill you with such an un-distinguishable sense of feeling. No amount of analysis can faithfully explain the special sensation that this film evokes in all that watch it. I can’t guarantee that I can now do it justice, but in the spirit of Christmas that this film promotes, I will certainly try. It has Christmas. It has Carols. It has Muppets...

...and it’s wonderful...

Charles Dickens’ novella “A Christmas Carol” is perhaps the most famously recognised and beloved Christmas story of all time. As such, many directors, writers, animators, producers, and actors have had their fair attempt at adapting the tale to their own tastes and visions. From Patrick Stewart, to Jim Carrey, to Catherine Tate, all a manner of talent has tried to breath new life into such a cherished tale. This story has existed for over 150 years, so if you’re going to make an adaptation of it, then you’d best bring something new to the table, which is exactly what this film does...in the form of Muppets.

As Christmas Carol renditions go, this film is perhaps one of the most faithful to date (in spite of its inclusion of singing frogs and pigs). The source material is treated with the upmost respect: all the same recognisable scenes and characters are present, with any changes made only to enhance its appeal to virtually any audience imaginable. One of the most remarkable changes is perhaps the inclusion of Charles Dickens (played by the Great Gonzo) as an omniscient narrator, accompanied by the amusingly self-aware Rizzo the Rat. As comedy double acts go, Gonzo and Rizzo provide constant warmth and humour with aplomb, literally interacting with the events of the story despite supposedly being non-diegetic elements. They personify and maintain the light-hearted tone that is the key to this film’s likeability. In fact the film relies on their comedic presence so much, that their temporary exclusion from the darkest point of the film creates one of the most appropriate and effective contrasts in all of storytelling. Yet even when on-screen, Gonzo is able to provide a tense and engaging atmosphere through quoting multiple extracts from the original book.

Other than this distinct narrative presentation, only small minor changes such as Jacob Marley now being bifurcated into two brothers (no, one of them is not Bob Marley) add slight alteration to the overall story, but nothing too contradictory ever ruins the respect that Dickens duly deserves. But if there’s one unique element that must be praised above all others, it’s the outstanding orchestral score.

I take absolutely no shame in declaring this film’s soundtrack to perhaps be one of the greatest, and most memorable movie scores of all time. All it takes is the first few seconds of the opening overture to instantly turn anyone’s heart into festive cheer. Every song is intelligently composed, setting the exact tone of a scene whilst simultaneously leaving whimsical melodies and lyrics that will forever be engraved in the brains of those hearing them. The spirit of the film is most definitely in its songs, and their inclusion is wonderfully consistent. The film’s narrative is perfectly paced as to ensure that the songs enter and exit naturally in a distinctive rhythm that maintains the speed at which the story is told. Never is a scene or sequence made too dull or drawn-out, as the comedy and orchestral soundtrack alone is enough to carry the film’s Christmas spirit. Whether it’s the brass, the strings, the percussion or the bells, in all my years of movie-viewing, I have yet to find a score that can transport me into the Christmas mood quicker than Miles Goodman’s music or Paul Williams' songs (plus, any film that can get Michael Caine to sing like an angel is a winner in my book).

Apart from Scrooge and his family, every character is suitably portrayed by a respective Muppet. Other than the perfect comedy duo of Gonzo and Rizzo, every other Muppet’s distinctive personality is well suited to the equally well-known Dickens characters. Kermit’s un-deniable optimism suits the role of Bob Cratchet perfectly, as does Fozzie as the crazy happy-go-lucky Mr. Fozziwig (I see what they did there...and I love it).

Even for those not acquainted with Muppet lore, you need not be hindered by this film’s various references to the puppets’ past. But for those that are, it is heart-warming how this was the first Muppet film released after the death of the Muppets creator Jim Henson, and it is subtly evident that this film is dedicated to his memory. The characters he brought into this world have touched the hearts and funny bones of thousands of children and adults alike, and it’s genuinely quite moving to know that he would be happy to see his creations still making us laugh and cry on Christmas day. It probably works in the film’s favour that it's directed by Jim’s son Brian Henson. Who better to make a family film celebrating a family festivity than the family of the Father of the Muppet family? Brian Henson clearly shows his deep love and understanding for the Muppet characters by taking complete advantage of their presence. Like every Muppet movie before and after it, everyone’s forgiven for forgetting that there are in fact people controlling and voicing these inanimate animals. As ever, the puppet performers simply bring these characters to life, being just as real and life-like as the supporting human cast around them.

Although many an actor had previously taken on the main role of Scrooge before, it is Michael Caine that definitively embraces the character’s fiercer facets (he’s so fierce that not even the camera chooses to show his face throughout his entire introductory song). His gravitas, coldness, and superiority are constantly challenged by the glimmer of sincerity in the eyes to a soul that only Caine could pull off. In fact, his mainly straight performance as Scrooge creates such a juxtaposition against that of the comical Muppets, that it effectively makes the character’s subtle transformation into a more accepting and loving man to be all the more noticeable and satisfying.

While the co-existence of humans and puppet-like creatures is just instantly accepted as a fact of this film’s world, the sense of childlike innocence and imagination that is always associated with the Muppets creates a consistent undercurrent of charm that supports the goodness of the social setting. It works just as well that the Muppets’ inclusion simultaneously presents an ideal culture where an extremely diverse population opposes the bitterness of one man’s soul against everyone else. It better defines Scrooge’s sourness to be against that of the entire world, not just one class or in this case, type of fur. As a result, it makes Scrooge’s position far more tragic in that his hatred and isolation is targeted against both everything and everyone, and that his heart is too damaged to open any compassion to neither his family, nor his workers. In addition, the diverse world of Man-and-Muppet that this film presents just generally induces the sense of warmth and cosy-ness that audiences can’t help but absorb. The entire design of the film feels both historical and fanciful in its approach, with small wonky houses that are believable enough to be homes for both humans and puppets alike.

This translates well into the designs of the ghosts as well, as each one is incredibly different and uniquely defined, reflecting this truly diverse world that Scrooge chooses to oppose. Furthermore, it allows the film to frankly out do itself in the multitude of visual and practical effects that can only be truly achieved through film. The Ghost of Christmas Past is a ghostly child figure, created through a puppet that was operated in a water-tank against a green screen, effectively giving her a seemingly innocent yet un-deniably eerie appearance. Her design perfectly compliments the strange fragility of the contents of the past, but equally the innocence of what Scrooge’s younger years held. The Ghost of Christmas Present is literally a giant cuddly Santa-like figure (and I say literally, because his entire body is made of felt), and the Ghost of Christmas Yet to Come is an unnerving cloaked creature with hands too monstrous to be either a person’s or puppet’s.

Overall, it’s a faithful adaptation of a well-known source material... with the Muppets. Except, it is so much more than that. Very few films show as much heart, as much effort, as much passion, as much charm, or wit, or fun, or love as this one does. It celebrates Christmas for what it is, a joyous annual phenomenon to be loved by everyone, not exclusively by religious followers. It’s uplifting, it’s dark, it’s silly, it’s sad, it’s funny and heartfelt, and sometimes a bit mad. It has everything anyone could ask for from a Christmas film, or even any film for that matter. From the songs, to the humour, to the performances, to the visuals, to the tone, and to the Muppets themselves, I very much doubt that any Christmas film will ever come to surpass it.

I love my Christmas tradition, and I honestly couldn’t wish for one better.

"Many laughed to see this alteration in him, but he let them laugh and little heeded them, for he knew that no good thing in this world ever happened, at which some did not have their fill of laughter.” ...God Bless the Muppets, every one.

Merry Christmas.

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sockcrumbs · 9 years

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Miracle on 34th Street (1994) Review

Miracle on 34th Street (1994) – If only miracles were that geographically specific

Despite not adding a great deal from the 1947 original, the 1994 version of Miracle on 34th Street does an ample job of using the tools of the time in order to re-create this beloved classic tale. Although on the surface, it tells a remarkably simple story about a man who believes himself to be Santa Claus, this story has always been cherished for raising thought-provoking debates on the concepts of faith and trust. With a realistically grand-scaled setting, a generally charismatic cast, and a timeless insight into American commercialism, Les Mayfield’s remake evokes fun and thoughts in those in need of nice Christmas cheer.

When Kris Kringle does a better job than expected as an emergency parade Santa Claus, the supermarket “Cole’s” decides to employ him as a full time Father Christmas. But when commercial competition drives poor Mr. Kringle into court, a case conflict asks the people of America to decide whether a supposedly fictitious figure can truly be real. While at a glance, it seems like a relatively simple story about determining the existence of Santa Clause, this film holds many hidden layers that provide many healthy morals on belief. In the background, characters encounter their own troubles on how to let go of the past, to trust others, to have faith, and as ever, to understand the true meaning of Christmas.

This film hasn’t exactly got the easiest of tasks; having to question the fundamental distinctions between the credibility of faith and religion whilst simultaneously producing a heartfelt family Christmas film that appeals to all ages. But thankfully, in spite of the occasionally goofy moment here and there, this film has a wonderfully charming sense of humour, and a plausible outlook onto the commercial icons that drive the Christmas season. Since his first appearance as a Coca-Cola poster-boy, the modern day red suit Santa Clause has been the marketing tool of thousands of companies wishing to make an annual festive profit. While the original Saint has his religious origins, his existence is now better known through the myths of his will to give gifts to millions of children across the world. As popular and marketable as such a figure is, there’s no denying that his image gives a nice incentive for children to be happy and behaved. Through faith in him, children arguably inherit the Christmas spirit more than any of us, which is exactly what this film aims to prove.

For what is usually quite a rare sight to see, the film does actually do a remarkable job at showing some of the benefits of commercialism, and how a company can still care for its workers and customers and yet still make a healthy profit.

Throughout the entire film, Mr. Kringle (believing himself to be the real Father Christmas) attempts to persuade those he finds troubled to put their faith in him in order to find prosperity. Although people are rightly entitled to their own beliefs and followings, what’s revealed is that the importance of trust and faith isn’t the problem. The problem is when a Mother can’t forget her past pain at the expense of her own daughter’s happiness, or when a person doesn’t understand the appropriate way to express their feelings to someone else. But through a culturally accepted icon of innocence and joy, one can find their own personal faith and inspiration to find what’s really important, and what must be given or given up for the sake of others. In regards to the relationship between a child and parent, the film doesn’t answer the question of what we should teach our children, but instead substitutes it with a better question of whether we should let them decide for themselves (the answer: yeah, we should).

In fact, such questions regarding the importance of individual faith are quite justifiably discussed at one point by the main female lead, only to have her love interest reply with the most unsubtle innuendo I’ve ever heard in a Christmas film (casually mentioning Mistletoe has never been a good pick-up line and it never will be).

The film also poses an interesting question regarding the perception of the mentally challenged. Whether or not Mr. Kringle is in fact mad or insane, the film does such a splendid job of assuring the audience of Kringle’s warmth and good intentions, that it questions whether someone mentally challenged can be accepted within society so long as they’re proven to be incapable of causing harm.

Although the film does occasionally shove these messages and ideas firmly within the viewer’s face, for the most part, a lot these themes are considerably downplayed in the midst of the grander plot. All the actors use great sincerity to suggest deeper meanings without the need to make a grand monologue about it.

It’s Richard Attenborough’s performance as the main lead of ‘Kris Kringle’, and the innocent love of children he brings with him, that makes him such an endearing and loveable protagonist. Conjointly, Elizabeth Perkins conveys the sympathetic stubbornness that her character of the mother ‘Dorey Walker’ demands, and Dylan McDermott (who looks like a slightly more attractive David Schwimmer) plays a very likeable and friendly ‘Bryan Bedford’. However, although both actors are very capable in their respective roles, portions of the script prevent them becoming the fully endearing personalities that they should clearly be. It’s not that these two characters don’t have any interesting personality traits, but the intense focus upon their romance throughout the film sometimes squanders their interest and depth. Conversely, although Mara Wilson is un-deniably adorable and quick-witted as the daughter ‘Susan Walker’, the excessive nature of the some of her dialogue sometimes feels like it’s trying too hard to maker her appear too sassy and intelligent for her age.

In ridiculously stereotypical fashion, the antagonists are lead by a delightfully British James-Bond-like-villain played by Joss Ackland, with the likes of Jane Leeves (in something that isn’t Fraiser) playing an equally posh minion. The Drunk Santa villain played by Jack McGee however, is quite perplexing in regards to the film’s suitability. He does act appropriately horrid and disgusting, but there’s a point where the film just goes a bit too far. In the midst of him taunting Mr. Kringle, even though he has clearly said enough to upset and anger him, he then goes the extra step of saying “You got a thing for the little ones, huh? Because they ain’t much for nothing else are they?”. Although a line like this would easily go over the heads of children, it’s still a very unpleasant thought to have in a family film. It may be a minor point, but in a world where public sensitivity is often judged and debated, it’s a point I felt was worth making.

However, against the cartoonish villains and weaker sub-plots, what’s charming about this film’s story is just how plain its plot can be. The real meat of the movie lies within its underbelly, but it’s not required to access it in order to enjoy the film for what it is. Despite being a fantasy film, it doesn’t require any large special effects or visual magic in order to entice its audience. The film does a fine enough job by itself at creating a fun world through huge colourful sets of toyshops, and tranquilly festive snowy streets.

In fact, what’s so great about the film is that it never actually truly reveals whether Mr Kringle actually is a magical being or not. It is entirely possible to watch the entire film with the interpretation of Mr Kringle just being a normal albeit incredibly intelligent and eccentric old man. The film doesn’t end on a magic reveal with Kris flying off into the sky on his sleigh, because if it did, it would completely ruin the entire point of the film. Debates regarding the existence of a magical being are meaningless when their presence, fictional or otherwise is the cause of such happiness, faith, belief, and unity. The court scene ends with an absolutely beautiful soliloquy about the integrity of a nation’s communal decision to accept the power and value of a present faith. It doesn’t give an exact definition of faith, because that would honestly be defeating the purpose of it. Faith is a complex concept of belief and trust within something that not always agrees with common sense, and as such it’s definition changes drastically depending on personal view. As it states on the dollar bill, “In God we trust”, and while it is a religious view, the principle of placing faith in a figure that can’t be definitively proven to be real stands the same. If a community can’t prove the existence of a God, yet still celebrate, unite, and strive in its name, then why should the same not apply to another figure responsible for communal merriment?

Overall, this film creates an agree-able message in a heart-warming fashion. It leaves a nice lasting impression, and an entertaining tale of sales and Santa.

Do I personally believe in Santa Claus? I honestly don’t see why it matters. Whether he exists or not, his impact and importance certainly is real. From commercialism and consumerism to family and festivities, his representation as the spirit of good will and kind-heartedness continues to remind and inspire those to embrace the charity and kindness that Christmas brings. If that’s what you mean by ‘belief’, then do I believe in Santa Claus? In that case, then yes, I most certainly do.

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sockcrumbs · 9 years

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Paddington Review

Paddington – Marmalade never looked so festive

It’s hardly a secret that for a large majority of modern movie adaptations and revivals of old cherished childhood figures, their translations to the big screen have been squandered by horrible misconceptions of their original appeal. Resultantly, this has lead to a many number of family films becoming subject to humour derived of nothing but pop culture references and poorly paced slapstick (and don’t even get me started on their concept of ‘toilet humour’). From Smurfs to Postmen, and Chipmunks to Magic Roundabouts, it would appear that the film industry has ceased to care about the intelligence and worth of the family demographic, choosing to build an audience around a recognisable franchise without putting the effort in to make it suit the medium. That is of course, until now...

After having been so thoroughly disappointed by so very many butchered renditions of classic icons, the makers of “Paddington” have seemingly grasped the essence of the original Michael Bond books and have adapted them perfectly for a modern audience. Throughout this film’s entire duration, spectators are treated with care and respect, as thick supplies of varied, clever, and accessible humour are present, but never patronising to the beautiful intricacy of this film’s charm.

Based off of the origins described within Bond’s books, Paddington is a bear from deepest darkest Peru, who is sent to London via boat on a quest to find a new family after his home is destroyed. Arriving at Paddington station, he finds himself taken into the company of the Browns, a mixed family of various eccentrics that all help to try and find the bear a proper home.

While a few changes from the original source material are to be expected, they only serve to make what was already a charming story an even more detailed and lovable tale. Being set within a 21st Century London, modern themes of technology and social media do very little to distract the story’s focus upon culture more than contraptions. The London that is portrayed here is exactly the kind of quintessentially British setting that you’d want to see. Its inhabitants are politely ignorant, its set-pieces are remarkably last century and its weather is delightfully damp and dreary. Through precision of design and lighting, every corner of London is presented as a strange yet wonderful magical realm for our main mammal to traverse through.

It is clearly evident that this film has the same production team as the Harry Potter franchise behind it, as like marmalade, intricate detail simply oozes out of every frame. For instance, a painting of a blossom tree on the wall of the Brown’s house changes the colour of its foliage throughout the film in order to reflect the characters' changing moods. Additionally, scenes drawn earlier on paper are later replicated perfectly in full motion, and the use of a model house is used cleverly to give an insight into the various rooms and lives of the Brown household.

For a film drenched within a modern world of computers and intolerance, the film’s entire style reminisces the traditional idolised notions of Britain’s past. Sets remind the eyes of classic picture-books, and Paddington’s adorably polite demeanour recalls the etiquette that was once thought of as the social norm.

Its humour is purely innocent, mixing simple wordplay with surreal scenarios as well as the odd innuendo thrown in for good measure, but all of them safely above the heads of the more juvenile crowds. Despite the occasionally dangerous step into more bog-standard slapstick, the all-star British cast more than make up for it with witty dialogue and self-deprecating dispositions (plus it has Hugh Bonneville in drag, which is probably worth the price of admission by itself).

Speaking of the Earl of Grantham himself, Hugh Bonneville has absolutely pitch-perfect comedic timing as the risk analyst Mr. Brown, sporting a personality that wonderfully exaggerates the world-weary precautious parent that suspects anything un-familiar. Conversely, Sally Hawkins puts her admirable innocence on full display with supporting roles played by the likes of Julie Walters and Peter Capaldi adding to an overall familiar and talented ensemble cast. However, the film’s saving grace is most definitely down to Ben Wishaw, who provides Paddington with a youthful sense of curious yet polite naivety that you just can’t help but completely adore. In turn, Wishaw’s voice works wonders for inducing the emotional attachment between the audience and Paddington’s CGI design. While the animation is not the best that the industry has to offer, Paddington’s facial expressions and warm humanity do more than enough to make him an endearing presence on screen.

As different as the characters are, the film strives to prove that as unalike as a society can be, everyone has a chance of fitting into a new world. While it may be hard to not acknowledge, the film is essentially a moral reflection of Britain’s anti-immigration culture. Even though it is entirely possible to enjoy the film regardless of its political context, that would be to demean its current relevance and purpose towards a nation that is currently troubled with the cause of inclusivity.

Paddington himself is an outcast individual in search of a new life and home, and while he is initially ignored by social indecency, it is an act of kindness and acceptance that improves both his life, as well as the ones who opened up their hearts to him. While the film’s pleasant resolution does imply that Paddington shall continue to be fed and sheltered by British taxpayers without actually earning any income himself, his importance to both a family and a society is much deeper then that of just numbers. Perhaps this film does not aim to convince us that immigration is our economic saviour and benefit, but it may aim to convince us that not everything is as it seems, and not everyone deserves to be judged until we realise just how lucky we are to have them.

However, besides our main furry migrant, multiculturalism is further highlighted as a recurring theme guised as an already evident culture made up of foreign facets, yet all unified by a national pride and personality. Jim Broadbent plays a delightfully eccentric German antique dealer, and an Afro-Caribbean band accompanies Paddington at several points through the film, providing up-beat exotic music that livens the streets more so than its closed-off citizens. Furthermore, although Paddington’s polite mannerisms can be perceived to be a result of what was essentially British colonialism, it still justifiably works in the film’s favour for expressing the fact that an Englishman does not necessarily have to be a man at all in order to be accepted within a nation.

Overall, it’s a translation of a nationally beloved character that manages to prove itself as both entertaining and relevant. Even if you choose not to indulge yourself with its potential political commentary, it does absolutely nothing from stopping you from enjoying this fun family film regardless of what debates it may stimulate. The characters, the world, the humour, the music, and the visuals all scream charm in the most gentle and loving way possible. Its production design is spectacularly magical, its direction suits both its wonderment and humour, and its cast go above and beyond to provide entertainment for what is quite simply a charming, yet though-provoking film of a stranger in need of love and marmalade.

If you are need of a good smile this Christmas, then there’s no need to look further than the friendly bear who has forever been in our nation’s hearts.

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sockcrumbs · 9 years

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Sockcrumb Festive Fun!

Finally after a long lengthy break, it is time once again to return to the writing desk, and indulge in criticising the cinematic pickings of the world. Unlike my usual once-a-week upload schedule, given the current festive season, the next four weeks shall simply involve me uploading reviews of Christmas films at whatever point I complete them. Quite simply, if I see a Christmas film, I'll review it and try to upload it as soon as possible. I can't guarantee quite how many I'll be able to upload amongst time dedicated to sitting around consuming mince pies, but I will do my upmost to bring my own slice of festive cheer to the films we all don't mind watching every single year. With that, I hope that you enjoy this festive season, that you have a very Merry Christmas in store, and that you enjoy a personalised insight into these annually beloved and sometimes despised festive film offerings!

#sockcrumbs #christmas #festive #fun #film #Film Review #review #cinema #cinema review #return

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sockcrumbs · 10 years

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Sockcrumb-Break: Temporary Hiatus

On account of an un-expectedly large and heavy work-load, time dedicated to this blog will have to be temporarily ceased until I have access to more free time. For my followers, I cannot thank you enough for your support, and I hope that you will stay tuned until I can find the time to create more content. Fear not, for this is only a temporary hiatus, and will most likely be over by mid-december, so christmas movie reviews and previews will certainly be plentiful for the festive holiday period. Until that time, while I cannot promise a regular upload schedule, I can guarantee that I will have the time to respond to any quick or short queries regarding quick thoughts on upcoming films, or anything regarding my past reviews. If you take the time to ask a question, then I will surely take the time to answer it. I will be more than happy to spare a moment for a brief movie conversation! I made this blog for the enjoyment and interest of those who follow me, and without your support, then I simply wouldn't have this blog, so I owe a great deal to all of you. Thank you all so much, and please stay tuned for future content. While mid-december is the most likely time for resumed production, there is nothing to surely say that I won't be able to return to my reviews and previews before that time either. In any case, make sure to watch this space! Thank you!

#hiatus #break #question #answer #sockcrumbs #thank you

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sockcrumbs · 10 years

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Sockcrumb Sundae Speculation: 13th-19th October 2014

Oh Film Festivals, why must you mock me so? With October now being in full swing, it’s more than just cinemas that the movies seem to be invading, as London’s film festival starts churning out more films in a week then a public cinema could in three months. Sadly, for those of us without the time or money to find a way to grab a seat, we are forced to idly sit by and occupy our time with the week’s select film pickings until the best of the festival bunch make their way to our screens at a later date. A chance to view the best of world cinema, from films from both the old and the new, the national and international, the restored and the discovered, the ‘arty’ and the ‘farty’, is one that is always sorely missed. While in hindsight, it is painful to have to sit and wait with the knowledge that elsewhere, a potentially revolutionary, spectacular, or deeply thought provoking film is being unveiled in front of an eager audience, that’s not to say that we can’t still enjoy ourselves with the only films we have left at our disposal. While nothing too remarkable in comparison to the varied wonders being shown at the festival, the selection we are left with here isn’t a completely bad one, and should no doubt provide some decent tears and laughs of its own, intentionally or otherwise. With that said, let’s browse through what films we have in the third week of October:

The Judge (17th October)

Any film with Robert Downey Jr. in it is always a plus in my book, but it doesn’t hurt that this film seems to have a plot and scope that seems equally as enticing as the actor it stars. When attending his mother’s funeral, Henry “Hank” Palmer (Robert Downey Jr.) is tasked with the challenge of defending his father in court after he is suspected of murdering a man he had previously sent to prison. With a court scene that could potentially be the court scene to end all court scenes, there’s a lot riding on this emotionally primed American drama, where it seems that it’s more than just a man that’s being put on trial. With a film about forgiving past mistakes and delivering true justice in the face of past scuffles, while one would not be wrong in saying that this film seems to be leaning over on the cliché side, its solid cast and presentation could save it from presiding over a jurisdiction of dramatic mediocrity. While at times, it does appear to be more ‘Tony Stark’ playing Hank than actually Downey Jr. himself, the iconic sense of wit and charm that he is now known for could be welcoming for audiences un-aware of the potentially over-emotional ride that this film may be taking them on.

Teenage Mutant Ninja Turtles (17th October)

Evidently not being satisfied with destroying just one cherished childhood franchise, Michael Bay is out to wreck havoc once more on another beloved 80s icon, with absolutely no regard for the feelings or loyalty of the established fan-base. While change is most often a welcome feature to an old image or formulae, there’s a fine line that lies between changing a well known icon for the greater good of making it more accessible for a modern day market and making the most out of the potential that the franchise has, and slap-dashing a recognisable brand atop of a bland, and possibly insulting piece of film that makes you question why the icon(s) was so popular in the first place.

Megan Fox once again proves her ability to convey no emotion other than ‘smugness’, and her open insult to fans criticising this movie’s marketing has soured my interest for this film even further (hopefully it should not surprise some of you to know that as the consumers, we have every right to criticise a film’s appearance and marketing, because at the end of the day, we are the ones that still have to pay to see the film). It’s ironic enough that Megan Fox was chosen to portray one of the most iconic free-willed and smart female characters of 80s animation, but as far as the trailers have dared to show, the rest of the cast including the talents of Whoopi Goldberg seem to be shamefully wasted in favour of the ugly animated abominations of the titular turtle team. I honestly can’t tell what direction this film wants to take, because its mixture of seriousness and goofy-ness is quite frankly all over the place. The stereotypical humour never felt welcome in the Transformers movies, and the goofy antics shown in this film certainly don’t seem to be welcome here.

Now, as pessimistic as all of the above might sound, I of course have no real valid reason to predict this film’s ultimate quality. While the overall marketing has left a bad taste in my mouth, there are still some glimmers of hope that I can see for this film, provided that the tone that the film decides to take isn’t nearly as confused as the trailers have so far shown it to be. For one, while the CGI of the turtles themselves isn’t overly impressive, the designs of them are quite nifty and well realised for a modern re-imagining, with their facial expressions looking both genuine and true to their characters. The hinted action scenes within the sewers and snowy mountains do look potentially exciting, and the villain of ‘shredder’ in particular is quite the awe-inspiring sight to behold. But, with the un-favourable talents of Michael Bay and Jonathan Liebesman behind the scenes, and a very hap-hazard style of tone, expectations of this amphibian action flick are far less then a half-shell.

Open Windows (17th October)

With every year comes more and more cases and crimes of privacy infringement, harassment and death threats, with one of the most common victims being that of celebrities. In a world where personal information can be hacked by anyone with the right tools, this film seems to be touching upon the very real threat of those willing to abuse our dependence on technology for their own personal sadistic gain. Thrilling, chilling, and especially creepy, this Spanish thriller film starring the talents of Elijah Wood and Sasha Grey, tells the tale of “Nick” (Wood), who wins a dinner date with his favourite star Jill (Grey), only to be rejected the chance, and instead presented with an alternative by the star’s so called ‘campaign manager’ Chord. Pressured and unsure, Nick’s decision to allow Chord to let him view Jill secretly via computer sets off a chain of events that will put both him and Jill at serious risk. The infringement of privacy and personal information is one of the biggest threats facing our current society, and this film doesn’t seem to be holding anything back on showing the realities of that threat. Technology seems to be both the villain and the saviour for our main characters’ predicament, as Nick and Chord face off in an elaborate technologically advanced game of cat and mouse as lives are put on the line. The trailers show more than enough to give viewers a fairly solid idea of what this film attempts to show. It’s unknown of the film will deliver on its promise, but it may be worth watching just to sit and find out.

#film #film preview #cinema #cinema preview #the judge #teenage mutant ninja turtles #reboot #michael bay #open windows #elijah wood #sasha grey #jonathan liebesman #80s animation #transformers #sockcrumbs

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sockcrumbs · 10 years

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TT: Closer to the Edge Review

TT: Closer to the edge – Sometimes the best stories are the real ones

Documentary filmmaking is a tough craft. It requires precision, effort, and an artistic ability to appropriately tell a true story through the eyes and souls of those involved. Like all art forms, and like all genres within those art forms, documentaries can be extremely varied in style and structure. When it comes down to something as specific as a sports documentary, many would be wrong in assuming that filming and interviewing sportsmen is all that’s required. In truth, those actions would actually be enough to make a documentary, but that wouldn’t make it a good one. Good documentaries go the step further. Good documentaries show artistic and personal flair. Good documentaries go closer to the edge…

The Isle of Man TT motorcycle race is an annual event held on the Isle of Man, and pits the most daring of riders through time-trial tracks across closed public roads. The event is renowned for being extremely dangerous, with riders being at a constant risk of death as they shoot down narrow twisting streets against stone walls and cliffs. Between the years 1907 to 2009, a total of 242 rider deaths have occurred, with dozens more injured along with spectators. It’s the safety concerns aroused by the TT that have led to the event’s removal, and furthermore, has warranted it a reason for first time director Richard de Aragues to make a film about it. Throughout its course, this documentary aims to not only explore the dangers and deaths of TT motorcycle racing, but to uncover just why on earth the riders keep coming back to it.

The short answer is that for the riders, there’s no other feeling like it in the world. The long answer is something that can only be experienced through watching this film. Through filmed footage of the TT races in action, to interviews with notable riders such as Guy Martin and Ian Hutchinson, and an added mixture of some more inventive direction and pacing, “TT: Closer to the edge” takes the viewer on an exhilarating and informative ride through the high-stakes between life and death.

This documentary carries a constant spiritual sense of danger, putting the audience quite literally closer to the edge of their own seats: The riders are genuine people, charmingly likeable yet realistically bonkers. The roads and wheels are all too tangible, and the crashes, all too real. Whether the film may side-track to showcase some history or even touch upon the female riders of the sport, the presence of death looms continually over the rider’s risk-reward way of life. Yet, despite the injuries, despite the near-deaths and real deaths, this film is a true testament to some of the bravest men and women the human race has ever produced. The urge to win, and the yearning to feel alive is what pushes them to return to do it all again, regardless of whether it might be their last. These are the people who don’t mind if they go up in flames, so long as there were flames when they went up, and if you don’t fancy a potentially fatal experience yourself, then only through watching this documentary will you be able to understand that. Only through watching this documentary, will you understand the title’s meaning, both spiritually and literally.

What isn’t a shame is this film’s ability to showcase moments that take full advantage of it’s 3D shooting; putting the camera into the eyes of the drivers as they charge down public roads at blinding speeds, or cleverly inserting title prompts onto moving mundane objects as it counts down the days towards the next race. What is a shame is this film’s lack of consistency to show these advantages continually. The very first scene is quite literally breath taking: the background music subtly thumps against a grey darkened shot of the drivers slowly mounting their motors, as a hard unyielding voice narrates “it’s the most exhilarating thing in the world…(pause for emphasis)…like being able to fly”. No sooner are his words spoken, when the shot is abruptly interrupted by a first person view of a rider zooming down a narrow street, scraping the camera against sharp turns, shaking it relentlessly across the racecourse, as the thunderous scream of the motorcycle violently deafens out anything left of the outside world. This film may not be able to emulate the feeling of motorcycle racing perfectly, but by God does it bloody well try. This absolutely stunning introduction invites its audience into the world that the film wants to explore with them. Although the action takes an early break and the pacing is mellowed down, some clever directing tricks still make the story interesting throughout the first act. Although a few of these tricks and turns make a return later down the road, that initial spark that ignited the film’s worth in interest sadly starts to dwindle until it’s finally set alight once more during the film’s conclusion. Although a strong opening and a strong ending, the filling of the film is sadly plagued by an over-saturation of slow interviews. Although the things that the interviewees are saying are still interesting and needed in order to provide context (albeit the accents may occasionally buffer their words), it’s the noticeable lack of the film’s early inventiveness that cuts short its unique flair.

It’s honestly a shame, since its very immersive and inventive directing style that’s incorporated within a few certain shots really allows the film to upstage most other documentaries. If it had perhaps stayed with this style more consistently, this great documentary could have been a masterful one, but as for what we have, it’s still a fascinating and detailed piece of real-life story telling, that will do its best to hold your interest until its final lap. The tale it tells may include a few ugly crashes, but as far as this film’s quality goes, you’ll barely notice the few scratches it has.

#tt3d: closer to the edge #closer to the edge #film #film review #cinema #cinema review #documentary #documentary film #richard de aragues #isle of man #tt motorcycle #tt #motorcycle race #motorcycle #motor sport #guy martin #ian hutchinson #3d #sockcrumbs

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sockcrumbs · 10 years

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Sockcrumb Sundae Speculation: 6th-12th October 2014

As the leaves start falling, and the breezes start blowing, it’s evident that that special time of year is upon us once more. Cold chills and windy gusts fill the air as October decides to properly settle down amongst the dead leaves and empty student booze bottles. What with autumn now being in full swing, there are certainly plenty of chills and shivers to be going around. But in spite of that, for some reason, movie companies seem to think that we don’t seem to be shivering enough, and thus the dawn of yearly horror and scary action flicks start to rise from the dark underworld of cinematic production. This week, we have a select range of different spine-chilling tales, that all seem to be worthy of making you feel uneasy on your walk home from the cinema on the dark cold streets (and all released on the same day too! It’s okay, I wasn’t planning on planning on sleeping on Friday night anyway). While the genre of horror, or even anything that uses anything particularly frightening, is a certain taste that isn’t going to appeal to everyone, the festive time of Halloween slowly approaching does put some more in the mood than others, and as far as movie-goers go, it’s a chance to see some of the best crafted films of the year. Horror is a very precise and difficult craft, and requires a lot of dedication and talent in order to get the best results. Even if this week’s offerings do ultimately do little to hide our eyes behind our hands, the tension of waiting to see if a film actually will be scary is sometimes all that’s required to make for a bone-chilling time at the cinema.

The Maze Runner (10th October)

Okay, perhaps not the most appropriate start....

While not technically a horror film, there is no denying that some grim and potentially scary moments will be present within this American sci-fi action thriller based on James Dashner’s novel of the same name. The story features a sixteen year old boy named Thomas (Dylan O’Brien) being delivered in the middle of an intricate ever-changing maze, where an established society of other boys have also been trapped. They struggle to find ways to escape the labyrinth whilst avoiding the deadly night-dwelling “Grievers”. For once, having a delayed UK release date has in fact improved this film’s chance of succeeding at the box office, as it has already received tremendous success and critical acclaim following it’s US release last month. This film seems to have all the manner of mystery, tension, character, and for what it’s worth, some pretty decent scares. The main threat of the “Grievers” have been perceived to be quite the blood-curdling and malicious group of enemies, and the trailers have not shied away from showing that just because the film focuses on predominately teenage boys, won’t stop some gruesome murders and deaths to be made, either at the claws of the Grievers, or the cold hard walls of the crushing maze. Overall, this film has great source material, and an ingenious concept that mixes the right elements of action and emotional drama within its core. If its well-crafted trailer and success in the US aren’t good enough reasons for you to see this film already, then I honestly don’t what reasons will be.

Annabelle (10th October)

Oh no, why dolls? Why did it have to be evil demon-possessed Dolls? There aren’t many things that I’ll confess to hating, but I will confess to hating evil possessed dolls, mannequins, or anything remotely resembling a mock-up human made of wood or plastic. Whilst ‘hate’ is commonly perceived as a negative thing to say, in this case, I couldn’t be giving this film a bigger compliment, as it seems to have all the elements already laid out for it to create an incredibly terrifying viewing experience, and one that I am not overly looking forward watching (don’t worry, that’s still a compliment). This American supernatural horror film is both a prequel and spin-off to last year’s “The Conjuring”, which was perhaps one of the most well-crafted and designed horror films of the past decade, and producer James Wan does not seem to be wasting any of his talent here. The building tension raised by close-ups of a woman’s hands near a sewing machine accompanied by scary music and close-ups of a creepy doll’s face are already enough to make anyone veer back from the screen in painful suspense. It takes a lot of deep understanding of an audience’s perception in order to scare them, and this film has so far shown that it knows its audience all too well; the camera leaves empty spaces on the sides of the screen to create anticipation for something to jump out, and cleverly timed editing plays with viewers perception of size and outcome. Regardless of how manner horror films you’ve seen, this seems to be a film that’ll challenge your powers of prediction, as well as your powers of confidence. Be careful not to take this film lightly, because if you’re not careful, Annabelle could very well be coming for you...

The Calling (10th October)

Lastly, we end with a more realistically un-settling crime thriller film based off of the 2008 Michael Redhill novel “The Calling”. Starring Susan Sarandom, Gil Bellows, and Ellen Burstyn, the spooky plot follows a police detective attempting to uncover a series of murders where the victims all seem to be posed with wide-open mouthed screams. Tricks and secret messages seem to be only the forefront of this mystery, as it’s up to inspector Hazel Micallef, detective Ray Green, and officer Ben Wingate to catch the killer before it strikes again. With seemingly no supernatural elements in sight, this could potentially be the most un-settling of the month’s scary film outings, if anything due to its firmer hold over realism, and the possible atrocities that real people have and may commit. These thriller type murder mysteries aren’t exactly new additions to the world of cinema, but if any director deserves a fair shot of adapting a creepy crime novel to film, it’s Jason Stone, a fairly recent contributing director, that’s had a fairly decent albeit small track record. Whether he can pull of this crime-thriller with flair is unknown, but like the case of this film’s genre, perhaps the less you know, the more you’ll enjoy it.

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sockcrumbs · 10 years

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Ronin Review

Ronin – A loud action film that’s better when it’s quiet

Released during the pre-comedy period, main man Robert De Niro stars as Sam, a former special force agent that now lives life as a mercenary, taking a job that requires him and a small group of others like himself to steal a mysterious briefcase. Along the way, they encounter shifty loyalties, betrayals, murders, gun wounds, and of course, lots and lots of car chases. Although the film does attempt to link the cast of killers with the tale of the Japanese Ronin (master-less samurai that dedicated their lives to being free-lancers for hire) in a feeble attempt to justify its supposedly ‘clever’ title, it all amounts to nothing more than an excuse to provide meaningless existentialism in what otherwise is a standard spy thriller action flick. Not to discourage the film’s execution or cast however, as both of these aspects are expertly well handled, and whilst they do make the film more soul-less than it perhaps could have been, they do at least provide the standards of the film’s genre with aplomb, with some memorable characters and quips along the way.

Although fast-paced shooting and highway driving is all well and good, what’s most captivating about “Ronin” is instead its sense of style and characterisation. From the very first scene, we are introduced to a damp, dark, yet vibrant angle of backstreet Paris, with precise pacing that makes every moment tenser than the last. Robert De Niro cautiously peeks round dark corners and hides pistols behind back doors for safety. No character is entirely trustworthy, nor do any of them truly trust one another. The well-timed lack of background music and constantly shifting camera angles makes these moments suspenseful, yet strangely welcoming into the film’s sense of visual and atmospheric flair. In these earlier instances, we truly understand the characters involved; The verge on the edge of ambiguity and familiarity, bridging the gap between with witty lines, snappy comebacks, surprise attacks against each another and formations of true, genuine friendships and adversaries.

But if masterfully shot motor chases are what you’re expecting, then you won’t be disappointed either. John Frankenheimer once again demonstrates his flawless ability to direct an intelligent thriller, taking his most noisy and action-packed scenes on a picturesque tour of the many cities that are this film’s many settings. From Nice to Paris, every city’s unique personality is brought to the forefront, allowing them to transcend the boundaries of mere backdrops, and instead become the very tangible realms in which our leading characters could very well meet their fate. The camera almost has trouble keeping up with chase scenes both set on foot and on wheel, yet still prevails to shoot numerous fast-paced angles that show enough detail to give the audience a clear vision of exactly how far apart each character is from one another. While occasionally, the car chases can perhaps linger a little too far on the long side, a constant undercurrent of tension more than compensates for the film’s sporadically prolonged notes.

That being said, despite the impressive skill found within the execution of the film’s many gun and car-chase sequences, where “Ronin” is surprisingly most effective is when it chooses to quieten down. It’s these quieter, slower moments where the characters reach the peak of their interest, where the film’s comedy and sincerity, its relatable-ness and gravitas are allowed to rear their heads. Not so surprisingly, it's also during these scenes where the ‘Ronin’ titling is presumably ‘explained’, and while it may be ultimately unnecessary, it is at least a worthy attempt to add more depth to the film’s universe. These instances are important, because without them, what we are left with is a film with nothing but shooting and car chasing. The drive-and-shoot shenanigans may be skilfully handled, but with a virtually non-existent plot to sustain it, both interest and care for the film’s progression start to dwindle the longer these scenes last.

It honestly comes to the point where the film actually thinks it’s complicated, before it realises that it’s not really about anything at all. It has shooting, it has running, it has kissing, lies and car chases, but at its core, its certainly more about the power of its style than the power of its plot.

While the plot picks up steam, the style and character-building seems to run out of it. What makes this is an issue lies with the film’s concluding soliloquy, reminiscing on the way the work of mercenaries is: “not asking questions”, never quite knowing what was inside the briefcase. It’s because of this message that drives home the fact that it’s about the people involved in the job, not the job itself, and for the most part, “Ronin” does accomplish in showing just that. Through the film’s first half, characters are memorable, identifiable, witty, and with a good balance of mystery and personality. But as the car chases increase, the interest in our characters systematically decrease. More information is certainly revealed about them over time, but it never amounts to the same level of genuine intrigue that they create within their initial introduction. It’s only inevitable that the longer you watch “Ronin”, the quicker you’ll find yourself more interested in the guns and cars than you are about the characters using them. The best scenes by far are the opening introduction and the scene where Robert De Niro gives instructions on how to remove a bullet in his side, before comically requesting their permission to “pass out”. These scenes not only bring out the best of the characters, but also the abilities of the actors portraying them. From Sean Bean, to Jean Reno, to De Niro himself, these actors surpass all expectations to bring their characters to life, but only when they are allowed to be more like characters, and less like trigger fingers and steering wheels.

But alas, from beginning to end, despite it’s flaws and missed opportunities, there is no denying that “Ronin” is still a very entertaining, exciting, and competently well made piece of movie action. It’s action scenes, while certainly numerous and sometimes a little drawn out, are nonetheless suspenseful, aided further by the convincing and memorable characters taking part in them. What it lacks in plot and consistency, it makes up for in stellar direction and performances. It could have been much more, but what we have is still enjoyable. Its soul may start to shrink the longer it lasts, but as a complete product, “Ronin” is still very much fast-fun cinema fare.

#ronin #robert de niro #jean reno #john frankenheimer #film #film review #cinema #cinema review #sockcrumbs

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